Becky Nurse of Salem

C

When a MacArthur Fellow playwright (Sarah Ruhl) and a Tony-winning director (Rebecca Taichman) return to Lincoln Center Theater, scene of two of their earlier successes (The Oldest Boy, How To Transcend a Marriage), with a new play starring Tony winner (Deirdre O’Connell), expectations are going to be high. I regret to report that at the preview I saw today Ruhl’s odd dark comedy not only did not meet my expectations, but did not even engage my interest. Becky Nurse, a descendant of Rebecca Nurse, who was hanged as a witch in 1692, is a 62-year-old woman who works as a tour guide at Salem’s Museum of Witchcraft. She is someone who goes through life shooting herself in the foot. Her failure to stick to the script for the museum tour gets her fired by the museum’s uptight director Shelby (Tina Benko). Her teen-aged granddaughter Gail (Alicia Crowder) whom she has been raising, is currently hospitalized for depression. Gail’s mother died from an opioid overdose and grandma is secretly addicted too. Becky’s only friend seems to be noble barkeep Bob (Bernard White), who had been her high school boyfriend but married someone else. Becky disapproves of Gail’s new friend Stan (Julian Sanchez), a Wiccan who introduces Becky to a modern witch (Candy Buckley) for help solving her problems. Complications arise. Becky goes to jail and has visions of the original Salem trials. Thomas Jay Ryan doubles as jailer and judge. The game actors are committed to their roles. Riccardo Hernandez's minimalist set has rolling modules that efficiently set the scene. I could have done without the jail-cell toilet. Emily Rebholz's costumes are apt.The script mixes a look at Salem’s complicated relationship to its history, a response to Arthur Miller’s The Crucible, a nod to the mania of Trumpism, a superficial exploration of witchcraft and a cautionary tale about opioid addiction. The mix does not blend well. I was left wondering what the point was. On the plus side, it provides employment for a lot of talented people. Running time: two hours, five minutes including intermission.

The Who & the What ***

Winning the Pulitzer Prize for Drama must have put a lot of pressure on playwright Ayad Akhtar to come up with another play that is equally impressive. While his new play at LCT3 lacks the explosive power of “Disgraced,” it does have much to recommend it. Afzal (Bernard White) is a wealthy widowed Pakistani immigrant who has risen from cabdriver to owner of the largest taxi fleet in Atlanta. His two adult daughters are Zarina (Madine Malouf), a bookish, somewhat aloof Harvard grad who has been working on a novel for years, and Mahwish (Tala Ashe), her slightly flighty younger sister who would like to marry but cannot because tradition demands that the older daughter marry first. When Zarina wanted to marry a non-Muslim some years past, Afzal forbade her and she acquiesced. Unbeknownst to her, he has recently set up a profile for her on MuslimLove.com and even impersonated her to meet prospects he deemed worthy. One of them is Eli (Gregg Keller, "Belleville"), a white convert to Islam who is imam of a poor congregation, founder of a soup kitchen, and also a plumber. In the second act, which takes place a couple of years later, both daughters have married. Zarina has finally finished her novel (its title is the title of the play, which doesn’t explain a lot) which deals with the life of Mohammed as a flawed human rather than a sanitized prophet, as well as with the constricted role of women in Islam. When her family discovers the nature of her novel and considers the devastating effect its publication is likely to have on them (shades of “Other Desert Cities”), a deep fracture occurs. The well-crafted first act crackles with snappy, often comic, dialogue between pairs of characters. The play’s two scenes between the sisters are especially fine. The second act is not as tightly knit and the big confrontation scene fizzles a bit. Unlike “Disgraced” which peaked with an ensemble scene, the current play seems to flounder when more than two people are on stage. The acting is mostly strong. Jack Magaw’s three-module set with filigreed panels suggestive of Muslim art, is quite attractive and highly functional. Emily Rebholz’s costumes work well too. Kimberly Senior, who also directed “Disgraced,” is effective again here. I found it well worth my time despite its imperfections. Running time: 1 hour, 45 minutes including intermission.